Marino Faliero

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Faliero or Falier, Marino

(märē`nō fälyā`rō, fälyār`), 1274–1355, doge of Venice (1354–55). As commander of Venetian forces he defeated (1346) Louis I of Hungary at Zara, and later he held high diplomatic posts. Soon after his election as doge, the Genoese triumphed over the Venetians. The new doge, at odds with patricians who had insulted his family, joined dissatisfied plebeians in a conspiracy to assassinate the nobles, overthrow the oligarchy, and make Faliero dictator. The plot was discovered; Faliero and his accomplices, tried by the Council of Ten (see Ten, Council ofTen, Council of,
in the republic of Venice, a special tribunal created (1310) to avert plots and crimes against the state. It was a direct result of the unsuccessful Tiepolo conspiracy against the Venetian oligarchy. In 1335 the body was given permanent status.
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), were executed. Faliero's life has inspired works by Byron, Swinburne, Delavigne, Delacroix, and Donizetti.
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References in classic literature ?
In one long row, around the great hall, were painted the portraits of the Doges of Venice (venerable fellows, with flowing white beards, for of the three hundred Senators eligible to the office, the oldest was usually chosen Doge,) and each had its complimentary inscription attached--till you came to the place that should have had Marino Faliero's picture in it, and that was blank and black--blank, except that it bore a terse inscription, saying that the conspirator had died for his crime.
At the head of the Giant's Staircase, where Marino Faliero was beheaded, and where the Doges were crowned in ancient times, two small slits in the stone wall were pointed out--two harmless, insignificant orifices that would never attract a stranger's attention--yet these were the terrible Lions' Mouths!
Marino Faliero was Donizetti's fiftieth opera, commissioned by Rossini for Paris but somewhat overshadowed by Rossini's other commission that season--Bellini's I Puritani.
BYRON'S VENETIAN TRAGEDIES, MARINO FALIERO AND THE TWO FOSCARI with their almost obsessive adherence to the neo-classical unities and their minute attention to historical detail, seem to be his least adventurous dramatic projects and have thus been taken as evidence that, despite his protestations to the contrary, Byron was indeed interested in writing plays that would be amenable to the contemporary theater.
Ultimately, the question arises of whether such oddly disabling gestures of qualification might not be related to the way in which, with one or two exceptions, the drama of the major Romantic poets and, in particular, the plays that Jewett discusses (Southey and Coleridge's The Fall of Robespierre, Southey's Wat Tyler, Wordsworth's The Borderers, Coleridge's Osorio, Shelley's The Cenci and Charles the First, Byron's Marino Faliero) are notable, not least, for the rarity of their staging, for their exemplary resistance to performance.
He followed her to Ravenna, where he wrote The Prophecy of Dante; cantos III, IV, and V of Don Juan; and the poetic dramas Marino Faliero , Sardanapalus, The Two Foscari, and Cain (all published in 1821).
Lansdown's study of Byron's three historical dramas, Marino Faliero, Sardanapalus, and The Two Foscari, is more notable for its local knowledge than for the insights it brings to Byron's place in the development of historical thought or to these plays' relation to other historical dramas.
He decides that they were all |overdrawn' or wrong in one way or another confirming Byron that he would never write for the stage, and when in 1821 Drury lane suggested performing Marino Faliero permission was refused.
In Marino Faliero (1885) Swinburne reworks a theme previously treated by Byron.
In the review of Opera Orchestra of New York's production of Marino Faliero in the Fall issue, we mistakenly referred to the Dallas Symphony Orchestra.
Part 2 of Closet Performances argues that Manfred, Sardanapalus, Prometheus Unbound, Marino Faliero, and Hellas represent an "almost desperate effort made by a later polite radicalism to co-opt and dominate its more successful plebeian equivalent" and, even more largely, that "radical writing was quickly re-invented, in the face of its continued political repression, once the wartime patriotism creating its cultural suppression had expired" (112).